A legal attorney and renegade cop team up to stop a corrupt cop.

A legal attorney and renegade cop team up to stop a corrupt cop. . You can read more in Google, Youtube, Wiki


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Ernest C (gb) wrote: This fascinating documentary takes a look inside The New York Times roaming around several different stories and having a look at some of the people who create its stories. It may not have a direct point/angle it wishes to overtly pursue (this is neither good nor bad, it just is), but it takes an almost nostalgic look at some of the inner workings of this cultural institution. I got a deeper look into the process of creating stories, examined my relationship to the print media and overall enjoyed this documentary.

Tonia G (gb) wrote: This was a weird story but it was like an oldfolk tale as sci fi.

Jeff P (fr) wrote: Best basketball movie hands down

David G (kr) wrote: It is artistic and it is imaginative, but that also requires the audience to understand the deep oddities of an imaginative mind such as this. So, for the most part this is a silly story about a bed eater.

Krystof Z (us) wrote: The one Clouseau without Sellers and Edwards. Still quite enjoyable but it never feels completely "right" as a pink panther movie.

Devon B (ru) wrote: Alfred Hitchcock's tale of foreign intrigue and reversible windmills centers around John Jones (Joel McCrea), a maverick crime reporter whose editor feels he would be perfect to cover the burgeoning rumours of war echoing around Europe (for, he reasons, what is happening in Europe if not a crime?). Jones fits the image of the loud-mouthed American to a tee, sticking his foot into it at every wrong opportunity, but, having been a crime reporter, he knows a frame up when he sees one. Arriving in Europe, he first attends a luncheon for the Dutch diplomat Van Meer (Albert Bassermann), who is to give a speech for the Universal Peace Party (which is headed by a man named Fisher and his daughter, Carol). Later, when Van Meer is very publicly shot, Jones and the daughter team up with fellow reporter ffoliott (George Sanders) to chase down the assassin. There are some very suspenseful set pieces in the film, one of which takes place in a windmill, and another onboard a transcontinental flight. Both could be considered Hitchcock's 'signature' on the film, they are unmistakeably 'Hitchcockian'. However, it's the performances in the film, with McCrea's brashness and Sanders' suaveness, and even the scene-stealing performance of Edmund Gwenn (Kris Kringle from "Miracle on 34th Street") as a dangerous hitman, that make this film really great. All the espionage is wrapped up with a rousing call to defend the last bastion of liberty as the world pulls inexorably towards self-destruction. Every element of this film is masterfully done, and it is so much more than just a suspense film, the only way it could've lost the academy award in 1941 was to another Hitchcock film released the same year (that being "Rebecca"). If I had one complaint, it's that Alfred Newman's film score doesn't always jibe with what's taking place onscreen. It's a small complaint for a great film.